Find out how writers think
An Interview with John Steffler
Sharon Caseburg: You noted in a 2010 interview with Open Book: Toronto that “wilderness or the uncontrollable and the unexpected are central subjects” in your collection Lookout. What is it about the uncontrollable that is desirable to write about? What do we learn about ourselves in exploring these wilder sides in literature?
John Steffler: I think that a thing that defines the human is our species’ ...
Jan Horner and Maureen Scott Harris In Conversation
Jan Horner: Let’s start by saying how long we’ve been talking about poetry, and how and when we met.
Maureen Scott Harris: I think we met in 1994, at the League’s AGM in Winnipeg — so we’ve been talking for close to twenty years. That was my first AGM. Rhea Tregebov had told me I should meet you, that you were lovely and we had lots in common — both librarians, both poets, both influenced by the poetry ...
A Walking Interview with bill bissett
Most interviews are staid conversations in stable environments where the Q and A makes a metronome monotony that goes against everything bill bissett’s poetry stands for. So while riding the SkyTrain from East Vancouver to English Bay, I was trying to come up with ways to add fresh dynamics to the interview situation. I needn’t have bothered. Bill’s natural M.O. is as in MOvement and meeting up with him ...
An Interview with Jennifer Still
Clarise Foster: Your new book, Girlwood, is quite stunning; Brick Books makes beautiful books, both inside and out. Congratulations. Talking with you in this issue marks an anniversary of sorts for me and for CV2. Back in 2001, I was in the midst of putting together the first issue of the magazine after it almost went under. It was called “Why Poetry,” and it featured interviews with and writing by ...
An Interview with Rachel Zolf
Clarise Foster: My first question is a long one I am afraid, but I am going to put it forward anyway. It strikes me that your newest collection, Neighbour Procedure (published by Coach House Books) is an important destination for you. Your first book, Her absence, this wanderer, has a distinctly personal feel to it. It feels like a journey in search of heritage and inheritance, one which also seems to ...
An Interview with Jonathan Ball
Colin Smith: Jonathan, you preface your book-length poem Ex Machina with a quote from the Victorian satiric novel Erewhon by Samuel Butler: “Man’s very soul is due to the machines, it is a machine-made thing: he thinks as he thinks, and feels as he feels, through the work that machines have wrought upon him, and their existence is quite as much a sine qua non for his, as his for theirs.”
Given that ...
Blood is Blood: The Making of a Two-Voice Poem
Endre Farkas: We both had a desire to create, contribute to and engage our community — the writing community not the familial/cultural/religious one. Our earliest collaborations involved moving poetry off the page. In 2004, for National Poetry Month, we put the poems of twenty Quebec poets on 1,600 Montreal buses. It was wonderful to see poetry crisscrossing the city. We even had a poem-spotting contest ...
An interview with Michelle Elrick
In 2009 CV2 collaborated with The Muses' Company to hold a new contest called "Show Me the Book." Michelle Elrick's manuscript To Speak won First Prize in that contest. Part of the prize was a feature interview in CV2, excerpted below.
Clarise Foster: In 2009, CV2 decided to hold a new kind of contest. We partnered up with The Muses’ Company — where I am the poetry editor — and “Show Me the Book” was ...
An interview with Richard Osler
In 2009 CV2 collaborated with The Muses' Company to hold a new contest called "Show Me the Book." Richard Osler won Second Prize in that contest. Part of the prize was a feature interview in CV2, excerpted below.
Clarise Foster: It is interesting to me that you have actually made a career of poetry — from your website I understand that you offer poetry workshops, often with a therapeutic emphasis. What ...
An Interview with Michael Trussler
CS: Here’s a craft-bound question, Lyric Poet. There are two devices you use that are rarely deployed outside avant-garde texts. One is actually setting down within lines the slash; the other is a line broken over a section break. These bold manoeuvres work for me, but in ways I find difficult to quantify. What might be their intended effects, and what led you to decide on them?
MT: Bold? I wish. When ...